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Hi,
so i think this one is a 19th century vase with a Kangxi mark, BUT what i have never seen and cant find is a pattern like this, from Kangxi period to modern, so any help on identifying this would be a big help, i have no idea how long it has been in the family and no one else does, so i cant give any info, maybe something picked up in the 50's/70's or maybe one from the 19th century, its really small about 15 cm/6 inches tall (a member of the family did used to work in China in the 19th century but all the stuff is mainly export blue and white probably modern then in the 19th century)
Ok so any info on this style ? im really interested in learning and it got me really stumped, all the dots and circles its really beautiful, i just would love to know more about it.
Thank you for taking the time to read all my posts and all the great assistance people here have been.
Kind regards,
Xbet

As Tony Allen points out in his latest issue, "Allen's Antique Chinese Porelain - The Detection of Fakes", Kangxi marks are generally held not to have been fabricated until the Guangxu period (1875-1908) and are almost never seen in four characters. As you've already surmised, your vase has an odd pattern for period Kangxi marks, to which I'd add that its famille rose palette is something that probably was only in the experimental phase at best during the late Kangxi reign.

In my opinion, your vase wasn't made during the late Qing dynasty and likely isn't any earlier than circa 1930, during the Republic years and possibly later. My basis is that from the artistic and technical standpoints, better porcelain was being made before the 30s, including superb pieces produced during a late Qing "Kangxi Renaissance". Since there are exceptions to every rule, I should note that a number of exceptional artists continued working after 1930, but their pieces usually bore their own or other markings besides those in the Kangxi-style.

A few aberrations stand out about your vase, beginning with the mark, which is placed asymmetrically, whereas an experienced traditional calligrapher would have taken pains to center it. Further, the floral motif, which otherwise was applied acceptably at the outset, seems to have incurred an irregular appearance during kiln firing, due to evaporation at the fringes of the black pigment used to outline the flowers. Sometimes this results from the kiln overheating or the failure of the artist to cover the black adequately with a clear glaze before firing. Such problems may reflect instabilities visited on supply lines to Jingdezhen by the Civil War or Japanese invasion of China in the 1930s.

For comparison, here's a link with images of well-painted and evenly fired late 19th to early 20th century Kangxi-style porcelains.

Best regards,

Bill H.



URL Title :Kangxi Style Porcelains

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